A book that finally demystifies Newton’s experiments in alchemy When Isaac Newton’s alchemical papers surfaced at a Sotheby’s auction in 1936, the quantity and seeming incoherence of the manuscripts were shocking. No longer the exemplar of Enlightenment rationality, the legendary physicist suddenly became “the last of the magicians.” Newton the Alchemist unlocks the secrets of Newton’s alchemical quest, providing a radically new understanding of the uncommon genius who probed nature at its deepest levels in pursuit of empirical knowledge. In this evocative and superbly written book, William Newman blends in-depth analysis of newly available texts with laboratory replications of Newton’s actual experiments in alchemy. He does not justify Newton’s alchemical research as part of a religious search for God in the physical world, nor does he argue that Newton studied alchemy to learn about gravitational attraction. Newman traces the evolution of Newton’s alchemical ideas and practices over a span of more than three decades, showing how they proved fruitful in diverse scientific fields. A precise experimenter in the realm of “chymistry,” Newton put the riddles of alchemy to the test in his lab. He also used ideas drawn from the alchemical texts to great effect in his optical experimentation. In his hands, alchemy was a tool for attaining the material benefits associated with the philosopher’s stone and an instrument for acquiring scientific knowledge of the most sophisticated kind. Newton the Alchemist provides rare insights into a man who was neither Enlightenment rationalist nor irrational magus, but rather an alchemist who sought through experiment and empiricism to alter nature at its very heart.

In an age when the nature of reality is complicated daily by advances in bioengineering, cloning, and artificial intelligence, it is easy to forget that the ever-evolving boundary between nature and technology has long been a source of ethical and scientific concern: modern anxieties about the possibility of artificial life and the dangers of tinkering with nature more generally were shared by opponents of alchemy long before genetic science delivered us a cloned sheep named Dolly. In Promethean Ambitions, William R. Newman ambitiously uses alchemy to investigate the thinning boundary between the natural and the artificial. Focusing primarily on the period between 1200 and 1700, Newman examines the labors of pioneering alchemists and the impassioned—and often negative—responses to their efforts. By the thirteenth century, Newman argues, alchemy had become a benchmark for determining the abilities of both men and demons, representing the epitome of creative power in the natural world. Newman frames the art-nature debate by contrasting the supposed transmutational power of alchemy with the merely representational abilities of the pictorial and plastic arts—a dispute which found artists such as Leonardo da Vinci and Bernard Palissy attacking alchemy as an irreligious fraud. The later assertion by the Paracelsian school that one could make an artificial human being—the homunculus—led to further disparagement of alchemy, but as Newman shows, the immense power over nature promised by the field contributed directly to the technological apologetics of Francis Bacon and his followers. By the mid-seventeenth century, the famous "father of modern chemistry," Robert Boyle, was employing the arguments of medieval alchemists to support the identity of naturally occurring substances with those manufactured by "chymical" means. In using history to highlight the art-nature debate, Newman here shows that alchemy was not an unformed and capricious precursor to chemistry; it was an art founded on coherent philosophical and empirical principles, with vocal supporters and even louder critics, that attracted individuals of first-rate intellect. The historical relationship that Newman charts between human creation and nature has innumerable implications today, and he ably links contemporary issues to alchemical debates on the natural versus the artificial.

Studie over de uitvoeringspraktijk van de pianomuziek van Ludwig van Beethoven.

On Translating Homer stands as a pivotal collection that engages deeply with the intricate process of translating the seminal works of Homer. This anthology presents an enriched discourse that spans across different literary styles and contexts, showcasing a diverse range of interpretations and methodologies in approaching such a monumental task. The inclusion of standout pieces that meticulously dissect linguistic nuances, cultural contexts, and the aesthetic considerations of translation, highlights the anthologys commitment to exploring the multifaceted nature of literary translation. This collection not only emphasizes the significance of Homers epics within the Western literary canon but also interrogates the act of translation as a creative and scholarly endeavor. The contributing authors, Francis William Newman and Matthew Arnold, bring to the collection a wealth of knowledge and insight drawn from their respective backgrounds and experiences. Their collective expertise encapsulates the Victorian era's engagement with classical literature, reflecting broader cultural and literary movements that sought to reconcile the ancient with the modern. The anthology aligns with the periods intellectual curiosity towards historical texts, and their translation, presenting a dialogue that navigates through philological scrutiny, poetic fidelity, and cultural transfer. On Translating Homer invites readers to embark on a scholarly journey that transcends mere literary criticism. This anthology offers a unique opportunity to explore the complex dynamics of translation, interpretation, and reception of classical literature through the lens of two prominent figures of the 19th century. As such, it is an invaluable resource for students, scholars, and enthusiasts of classical studies, comparative literature, and translation studies, providing a comprehensive exploration of the challenges and triumphs associated with bringing ancient texts to life in a new linguistic and cultural milieu.

Since the Enlightenment, alchemy has been viewed as a sort of antiscience, disparaged by many historians as a form of lunacy that impeded the development of rational chemistry. But in Atoms and Alchemy, William R. Newman—a historian widely credited for reviving recent interest in alchemy—exposes the speciousness of these views and challenges widely held beliefs about the origins of the Scientific Revolution. Tracing the alchemical roots of Robert Boyle’s famous mechanical philosophy, Newman shows that alchemy contributed to the mechanization of nature, a movement that lay at the very heart of scientific discovery. Boyle and his predecessors—figures like the mysterious medieval Geber or the Lutheran professor Daniel Sennert—provided convincing experimental proof that matter is made up of enduring particles at the microlevel. At the same time, Newman argues that alchemists created the operational criterion of an “atomic” element as the last point of analysis, thereby contributing a key feature to the development of later chemistry. Atomsand Alchemy thus provokes a refreshing debate about the origins of modern science and will be welcomed—and deliberated—by all who are interested in the development of scientific theory and practice.